• Journal of Korean Home Economics Education Association
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• v.12 no.2
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• pp.95-106
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• 2000

The purpose of this study was to analyse the relationship between the sex role types and the interests toward contents in practical arts of elementary school students. The questionnaire was composed of questions about the types of sex role and interests toward contents in practical arts. contents in practical arts subject were hoe economics agriculture technology computer. The respondents were 123 sixth grade boys and 122 girls from elementary schools in Seoul and Taegu. 245 questionnaires were used for data analysis. Frequency. percent x(sup)2-test. average, standard deviation, F-test. and Duncan’s multiple range test were followed. The results of this study were as follows: 1. Generally speaking androgynous and undifferentiated sex role type are more frequent than masculine and feminine type in elementary school children. 2. Androgynous sex role type students were higher than undifferentiated and masculine sex role types in scores of the interest toward home economics in practical arts subject. 3. Androgynous masculine and feminine sex role type students were higher than undifferentiated sex role types in scores of the interest toward agriculture in practical arts subject. 4. Masculine sex role type students were higher than androgynous types and undifferentiated and feminine sex role types were lower than androgynous in scores of the interest toward technology in practical arts subject. 5. Androgynous and masculine sex role type students were higher than feminine and undifferentiated sex role types in scores of the interest toward computer in practical arts subject.

• The Journal of the Korea Contents Association
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• v.14 no.5
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• pp.18-29
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• 2014

was somewhat of a turning point for Godard, allowing the Novelle Vague auteur to address for the first time the current political climate of the world in one of his film, and this film is a film of constant questioning and is, in the truest sense, a 'talking film'. In this paper, I attempt to analyse the sound of this film to interpret the complicated sound structure in . Godard was aware of the power of sound and experimented diverse methods such as 'direct sound', interviewing using the effect of on-sound and off-sound, multiple narration, reading a text aloud, sound effect and music which are controled and selected by himself in this film. , with its largely improvised dialogue, was a work of journalism which was recorded a generation of Marx Coca-Cola.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.55-56
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• 2009

The purpose of this study was to analyse body and cosmetic image according to women's sex role identity. The subjects of this study were 433 women over 20 years old. Self-administered questionnaires were used for data collection. SPSS(Ver. 15.0) was used for mean, median, frequency, percentages, factor analysis, and one-way ANOVA. The results of this study were as followed; First, women were clustered into 4 groups according to their sex role identity. 36.5% was classified as an androgynous group, 32.4% was a undifferentiated group, 16.1% was a masculine group, and 15.0% was a feminine group. Second, factors of women's body image were interest in appearance, interest in weight, and charming of appearance. Factors of cosmetic image were natural & sociable, urban & intellect, passionate, romantic, prestige & sophisticate, fashionable & splender, active, feminine, and formal. Third, Androgynous group showed much interests in appearance and charming of appearance, but undifferentiated group had low interests. Androgynous group pursued natural & sociable, urban & intellect, passionate, romantic, prestige & sophisticate, fashionable & splendor, active, feminine, and formal images most when they applied make-ups. Masculine group pursued urban & intellect and active images much and femme group pursued natural & sociable, feminine, and formal images much. However undifferentiated group pursued all factors of cosmetic images less. Forth, androgynous group applied more kinds of cosmetics, but undifferentiated group applied less.

• Korean Journal of Human Ecology
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• v.22 no.6
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• pp.673-686
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• 2013

The purpose of this study is to identify consumer needs and sensory evaluation of jacquard fabrics for blind using low melting polyester. Ten kinds of jacquard fabric used for this study were developed. Developed jacquard fabrics were assessed subjectively by 164 consumers using 7-point scale of 22 consumer needs and 43 sensory descriptors. The results were briefly summarized as follows: the most important parameter to choose fabric for blind was 'Easy-use' and the other parameters are 'Lightproof', 'UV-protect', 'Design', 'Price', 'Color', 'Insulation', 'Easy-care'. The image sensibility of jacquard fabrics was explained by six factors: feminine, active, modern, traditional, pure, cozy. Higher preference was found in jacquard fabrics of clear, natural, luxurious, simple, feminine, young, cozy, graceful image. The preference was predicted 38.2% with feminine, modern, pure, cozy, traditional factors. Correlation coefficient between image sensibility factor 1 and preference was 0.437. The 3 factors (feminine, modern, pure)were selected as significant image sensibility affecting preference.

• Journal of the Korean Society of Costume
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• v.52 no.2
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• pp.19-30
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• 2002

This is the research of Abject Art which was originated aesthetically in Abjection Theory of Julia Kristeva, a french psycho-analyst who argued liberational discussions about feminine identity against patricentric ideology which had fastened existing beautiful and elegant oedipal-feminine image and femininity as the secondary sex or the other's sex. and which became known by the planning display at whitney Museum of American in 1993. In Julia Kristeva's Abjection Theory which was written in her book(Power of Horror : An Assay on Abjection, 1992), she named pre-oedipal stage in which there is no sexual difference and has the same significance to both sexes instead of the oedipal stage which is becoming male-supreme reality as the semiotic and reinterpreted that an infant disregards feminine body--mother's body (Julia Kristeva, named it as Chora) as the love and the pain which carries her baby in herself and creates the baby which belonged to herself--which belongs to the semiotic to enter the symbolic smoothly. So the Abjection art is partly consist of some works which express the concertion of the boundary rebated with infant Identity which is not yet the other perfectly nor the subject perfectly, and of some works called Excretory Arts which express the excretion and vomiting which is the original experience of the abject. I expect that this research can be the chance of breaking from the fastened identity which was granted on female and feminine costume in this masculine-view centric society and creating the new position of costume and dress in the field of art by analyzing the costumes especially among these works.

• The Research Journal of the Costume Culture
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• v.9 no.5
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• pp.734-746
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• 2001

The purpose of this study is to investigate the influence of women's self-image on image evaluation of clothing self-image, and on their selection of clothing styles by situations. The subject of investigation was 500 women above 20 living in Daegu. 6 types of clothing styles including classic, casual, elegant, dramatic, romantic, and mannish and 7 social situations including shopping near house, shopping in a busy street, cultural center, wedding ceremony, dinning out, alumni meeting or fraternity meeting, and couples meeting were used for this study. Data analysis was performed using SPSS package, which included factor analysis, reliability test, cluster analysis, ANOVA, and X²-test. The results are summarized as follows. 1. Adult women could be classified into 4 groups such as the passive mannish, the passive feminine, the active mannish, and the active feminine by their self-images. 2. There were different opinions on each clothing style by self-image. In the image of each clothing style by self-image groups, the passive feminine group considered classic style having effect to make people look tall, mature and elegant style to make people look active and charming. Also, they rated the boldness of dramatic style and the activeness of mannish style high. The active feminine group estimated the boldness of mannish style high. 3. Selection of clothing style differed according to various situations. More formal the situation was, more classic style tended to be selected and for less formal situation, mannish style was selected.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.9_10 s.146
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• pp.1265-1273
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• 2005

The objective of this study is to examine the images of the current uniforms and to provide the basic references in designing female flight attendants uniforms. In Incheon International Airlines, 11 of the major airlines with the most passengers along with the highest capacity were chosen and 22 pieces of photographs were collected, two photos coming from each airline companies. The semantic differential scale has been formed by 16 pairs of adjectives. Then, it has conducted a statistical analysis using a SPSS WINDOWS that contains 475 copies of the selected questionnaires (375 of the non-flight attendants, and 100 of the female flight attendants). The following are the results and the conclusion of this study. According to this study, four main components of the uniforms of the female flight attendants were attractiveness, femininity, noticeability, and activity, which have occupied $65.9\%$ of the total variance. It was concluded that attractiveness and femininity were two main factors in perceiving the females' uniforms. According to the results of the uniform image difference, it was shown that Asiana Airline's uniform is the most attractive and Cathay Pacific Airline uniform is the most feminine. The most noticeable uniform was from Singapore airline which included cultural and traditional components of its own national colors. Pants suits of Lufthansa airline and Northwest airline were shown as the most active uniforms. There were significant differences in uniform images according to subjects' gender, age, education, and occupation. Men perceived uniforms more attractive, feminine, and active than women. People over 40 perceived uniforms more attractive, feminine, and active, and the High School graduates perceived uniforms more feminine and active. On occupational basis, Federal workers and Educators perceived uniforms more active on uniforms. Passengers who take planes once a month perceived uniforms more attractive, feminine, and active.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.2
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• pp.266-279
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• 2010

This research investigates the influence of color as an important factor of the visual image created by clothes. First, the factor analysis of the adjectives describing the images of clothes shows that the images of clothes are classified into 4 factors that include attraction, brightness, femininity, and the figure type (of which the attraction factor and brightness factor were found to be important dimensions). Second, as for the images of feminine style clothes colors, violet appears more refined and attractive than other colors in all 3 tones. Red appears as a brilliant and glowing image in a vivid tone. Yellow in a vivid tone and pale tone, and red in deep tone appear as a warm image, while blue appears as a cold image in all 3 tones. Blue and violet appear as a tall and slim image in all 3 tones. As for the images of mannish style clothes colors, yellow in vivid tone, violet in pale tone and red in deep tone appear as the most refined and attractive image, while green in all the tones appears as a rustic and unattractive image. Red in vivid tone, yellow in pale tone and violet in deep tone appear as a very brilliant and glowing image. Red in pale tone and deep tone appear as a warm and feminine image. Third, yellow in all the tones is evaluated to be attractive in the mannish style in the comparison of the image of feminine and mannish style clothes color, while blue in a pale tone in feminine style and in deep tone in mannish style earned high points. Red and violet did not show any significant differences between the two styles.

• Journal of English Language & Literature
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• v.56 no.2
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• pp.329-356
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• 2010

Coleridge's fame as a poet rests on the achievement of the mystery poems, "The Anceint Mariner," "Kubla Khan," and "Christabel." Coleridge's achievement in "Christabel" goes far beyond what previous critics have imagined. Coleridge is one of a handful of great writers who are included as representatives of androgyny. Throughout his life, Coleridge was accustomed to point out feminine qualities within himself. "Christabel" exemplifies the kind of writing contemporary feminist theories call l'écriture féminine. L'écriture féminine is not necessarily the creation of women but may rather be the works of those who refuse to identify with the father and the laws of paternal discourse. "Christabel" becomes Coleridge's most daring symbolic story. "Christabel" appears in its full significance as a vehicle for some profound insights into the dynamics of relationships between men and women, fathers and daughters. Through her deformity, Geraldine is actually the casualty of her father's hatred of women, and is the embodiment of all its anti-virtual aspects. The poem shows no bitterness against women, only compassion and remorse. Coleridge is sympathetically presenting Christabel's suffering as a woman at the hands of an overmastering man. Also, "Christabel" demonstrates woman power as well. In fact, the one person whose tales have any real effect within this narrative is the ambiguous Geraldine. Geraldine excels at story-telling, at making words act for her. Perhaps, despite the appearance of the surface, in which men hold all the cards, it is in fact women, or the feminine, so necessary to procreation and creativity, who hold sway here. This apparent dominion of the feminine derives at least partly from Coleridge's use of the conventions of that feminine genre, the Gothic romance. L'écriture féminine is a concept defined by its divergence from a dominant cultural norm. One may speculate that the fragmentary state of "Christabel" and "Kubla Khan" is in fact congruent with this mode of writing. If these poems imply a theoretical écriture féminine, they are by definition "incomplete," for completeness is a standard of patriarchal language and culture. More perplexing even than the other "mystery poems," "Christabel" is the true fragment of the three.

• Journal of the Korean Home Economics Association
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• v.35 no.6
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• pp.15-24
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• 1997

The objective of this study were to examine the relationships between clothing design preference, clothing attitude and sex role identity. Using the data collected through interview questions. 200 subjects who were 60years of age and older in Kunsan, Korea, the data were analyzed using $X^2$-test. The results of the study were the followings. 1. The androgynous type liked two button single jacket and the masculine and indifferentiate type three button single jacket, while the femin type liked soutien collar jacket in their woman. 2. The androgynous type' purchase motive was 'enough money' 'finding like clothing' while the masculine type's 'to attend meeting'. The feminine type's motive was 'enough money' and the indifferentiate type 'to attend meeting'. Clothing selection motive was more influenced the androgynous type than the feminine and indifferentiate type by 'design'. 3. The androgynous type felt 'indifferent' for dare clothing of the aging, the masculine type 'hate', the feminine type 'I like to', and the indifferentiate type 'look so good'.